agedhorse

I would want to be sure there isn't an unidentified safety hazard, or damage that could cause an amp failure that could then damage your speakers. A qualified tech could do this, but if it was me, repairs of flooded gear just don't make sense as they tend to fail later on if it is able to be fixed at all. I don't repair flood damaged gear, there's no way I can ethically warranty such a unit because of all the hidden damage.

Sorry, I didn't see that the units were GBP and not Euros Doing the same calculations: Sweetwiter Subway D-350: $799 USD, no taxes included. Andertons Subway D-350: with the exchange rate being 1.25 dollars to the GBP we have 799 x 1.25 = 999 GBP but your pricing includes 20% (per section 65 of the VAT act) so subtracting out the VAT we get 999/1.25 = 799 USD So in reality, IMO, Gibson has remained extremely fair to our European customers by absorbing all of the costs of import taxes, customs and bonded warehouse fees and registrations themselves.

The D-350 is $800 here in the states, so it’s in reality less expensive in the EU when just the exchange rate and VAT are accounted for.

Costs have gone up for products built in the US, there’s no way around this fact. As a simple example, because the Euro is so strong the cost of ICEPower modules is higher in dollars. The only way to reduce costs is to use Chinese parts/materials and assemble in China which is not what we do. If low cost is the priority, there are plenty of other options out there. That has never been our business model.

Also, with the exchange rate being 1.08 euros to the dollar, it looks like the real cost in the EU is on par with the US due in part to the strong Euro.

Subtract 20% VAT and it’s pretty comparable to US costs. Remember that we have to add about 9% state sales tax (varies by state) to our prices. Then there’s shipping, duty, import fees and EU registration fees that US manufactured products get charged to get into Europe.

Current and voltage will be simultaneously at the maximum into a resistive load where the phase shift is zero degrees. Where phase shift gets tricky and particularly dangerous is where it’s leading (capacitive) which is difficult to compensate for. With highly reactive loads it’s possible to have the highest currents where the voltage is not the maximum. This has to be accounted for in VI protective limiters and SOA calculations for linear amps. For class D amps this is not as difficult.

VA is apparent power which is different than watts which is real power. Real power does work, apparent power x power factor = real power. Real power is the apparent power x the cosine of the phase angle. When the load is resistive, voltage and current are in phase and the cosine of zero degrees is 1, so VA = watts. Since a speaker or resistive plus reactive, both electrically as well as mechanically, the phase angle is generally mostly inductive and his the current lags the voltage. The cosine of this lagging phase shift is less than 1, therefore the real power is less than the apparent power. By how much depends on how reactive. This is all basic electrical engineering stuff, something every amplifier designer should know inside and out. It’s also something that a speaker designer should have at least a basic working knowledge of.

Good question, I don’t have these details but expect that they won’t be set up to sell amps for another month or so. They seem to be pretty overwhelmed with the opening itself and all the work associated with launching such an endeavor. I could be wrong however, but that’s my best guess from where I am sitting. This was just forwarded to me: https://www.guitarworld.com/news/gibson-garage-london-preview

This reinforces my earlier comment about nominal impedance for the discussion of power being close enough, for this LF driver, if you take the average between 40 Hz to 1kHz, it’s close enough to 1W for most purposes. For power purposes, the area under the curve method is the most convenient way to visualize this for most people. Amp designers however, need to be aware of the data in this plot because it affects the absolute current through the components for a given voltage and frequency. This affects how protection circuits work as well as the demands places on the active devices themselves.

Because it doesn't use an ICEPower power module. The ICEPower module has become the industry standard because of the higher performance and reliability compared to virtually everything else on the market. That's why it's capable of 400 watts into 8 ohms, 800 watts into 2 or 4 ohms.

They are plenty close enough parameter-wise to work well together, don't overthink it (in this case at least).

Yes, I understand. I was explaining why the simplification is made with regards to the audio output power. The PF of most SMPS used in the audio amps I work with is around .9, which makes watts and VA within ~10%. That's plenty close enough for audio work, nothing precision about audio.

A quick update - Boogie gear is in the UK and will be on display for the opening of the Gibson Garage in London this Saturday. Dealers throughout Europe will have Boogie products in their stores in April, be sure to let them know what models you would like to see. Also, for anyone that’s able to visit the garage, I would love to hear your impressions as I won’t be able to visit. Please message me or comment on this thread.

For audio output power, the VA term is simplified to watts because the amp is modeled as a close to ideal voltage source and for practical purposes it’s easy to measure RMS voltage, square it and divided by the nominal impedance (simplified to resistance) to calculate power.

So many players I have worked with (as a pro audio provider) over the years have passed. That’s one of the sad parts of a long and very busy career, lots of fabulous music, and I wouldn’t trade my job for anything.

You probably can’t hurt anything but there’s no guarantee.

I kind of doubt it. I don't know which pins are dropped as to how the adapter is wired. Since I can't find any docs on the original 7 pin wiring diagram, I would be just guessing and there's no need to guess wrong here. All I can find is this information on the 4 button footswitch and 5 pin DIN wiring:

There is one pin that's connected to circuit ground and 4 pins that are pull-down pins connected to the opto-isolators for each function. The footswitch circuit works by connecting each of the function pins to ground which will switch the function. A QUALIFIED tech will be able to identify the correct pins and not damage anything.

On the Presonus boards they use 2 separate inputs (mic and line). By the spec sheet for the Studio Live 16, the input clip point with the trim control at unity is +12dBu and rotating it counter-clockwise from unity increases the input clip point by 15dB to +27dBu which is 17 Volts RMS and 48 Volts P-P. I believe this is an error in the manual because it exceeds the power supply rails. This is complicated a little bit because the signal block diagram doesn't match the console silk screen values, but even using the -6dB from unity headroom yields +18dBu which is 14dB of headroom on a +4 nominal signal. +18dBu is 6V RMS and 17V P-P Note that it's important not to throw numbers around without understanding the units. Peak, P-P and RMS are all differentfro the same signal. I don't see how you can overdrive the input if you are using the board properly.

Non-clipped output power in rms metrics.

The video world moved way too fast for my comfort level, you could be qualified one year and completely unqualified to design new products the next year as the technology changed and the big player drove the market. It's hard to have a 40 year career in the video business as a designer/engineer IME based on friends of mine who followed this path.

To respond to the message I received calling me a liar, here is where the test conditions for normal conditions are defined in the IEC 62368 regulations (for the EU). The input power to be labeled is defined to be the input power under these normal conditions (or greater if the manufacturer chooses a more stringent duty cycle because of the application). For example, for the amps I design for bass and electric guitar, I typically use more than double the minimum required under the regulations but for acoustic guitar it will be a little less than double: Also, may I ask why there's so much rudeness here? For those interested in learning, I'm providing information that most players clearly don't understand or haven't been exposed to. For those of you who don't want to learn, why challenge the facts is such a manner?

Our hope is that the Mesa showroom will also be complete by that date, but I don't know the details. There are containers of Mesa products that have already been shipped, so we are all hopeful that this date remains correct.

First of all, these additional discussions can be valuable for those who are open to learning. that’s why some of us put in the effort to explain things the way we do. Of course the additional information are going to be frustrating for someone who is struggling with the facts yet continues to post incorrect information as though they know what they are talking about. Clearly I poked that bear here, sorry for that. The term RMS power is defined by industry convention to be power based on rms voltage and current, it is a descriptor which is well understood and accepted by the industry. It’s also been accepted by all of the regulatory agencies (safety and EMC) for audio equipment testing. Hopefully this isn’t going to be controversial as well.